On the 75th anniversary of the Liberation of Paris, we would like to talk about Images de notre délivrance (Liberation.a.7), published in December 1944 by the Editions du Pavois (the publisher in 1946 of L’Univers concentrationnaire by David Rousset, which was awarded the Renaudot prize, Liberation.c.119 and Liberation.c.918). The book, clearly of a bibliophile nature, is presented by the editor as a documentary, the result of an accidental collaboration between a writer, Georges Duhamel (1884-1966), and an artist, Claude Lepape (1913-1994), both reacting to a unique historical event:
Ce livre est un document. Il est né de la rencontre fortuite de deux sensibilités. L’Ecrivain et le Dessinateur ne se sont pas concertés, mais leurs réactions, si diverses et en même temps si proches, constituent l’un des documents les plus émouvants sur les glorieuses journées de la libération.
“Be realistic, ask the impossible” was one of the many slogans of the French unrest in May-June 1968. May last year was the 50th anniversary of the upheaval, which arouses mixed feelings in French society, depending on the political ideas of each individual. There was a debate in 2017 about Emmanuel Macron’s idea of celebrating May 68, when it had been an anti-governmental, non-institutionalised movement; it certainly led to many cultural events in 2018, including the BnF exhibition: The spirit(s) of May 68. Cambridge University Library purchased many of the publications on May 68 which came out around the time of the anniversary, including 1968 : de grands soirs en petits matins (C214.c.7787) and L’esprit de mai 68 (C205.d.9998). Here we highlight some of the books we have received in the past year or so. Continue reading
Cambridge University Library has just acquired a collection of about 230 French illustrated poetry books ranging from 1841 to 1970 and beyond. They were collected by Martin Stone, an English guitarist as well as rare books dealer and collector who passed away in 2016. The collection consists mainly of outstanding first editions, many of which printed on special paper and containing signatures and dedications by and to prominent figures of the Parisian art world (Cocteau, Apollinaire, Marie Laurencin etc.). It is very strong from a literary perspective, with major or lesser-known French and Belgian poets, ranging from Symbolist and Decadent writing to the 20th century Modernist avant-gardes, which reverberated across the globe.
Poèmes de Jean Lorrain. Paris: Léon Grus, 1896. Sheet music. Composer Gabriel Pierné. Cover by Lucien Métivet.
Heilige Nacht (15th c.), click on image to enlarge
I recently catalogued a book from 1927, Der Niederrhein im Schrifttum alter und neuer Zeit (S950.b.9.1244), an anthology of writing about the Lower Rhine region of Northern Germany, illustrated with the most striking woodcuts. Some of these date from pre-1500 as the example to the right (or above if viewed on mobile phone) illustrates, but the majority are contemporary Expressionist works created by either Artur Buschmann or Anton Wendling, both artists I had not heard of before. The woodcut as a medium was particularly used by Expressionist artists in Germany.
Buschmann (1895-1971) was a local artist, best known for his paintings. He also worked as a draughtsman throughout his career. He had served in World War One but spent some time recuperating from a gas attack. By the 1920s he was part of the art scene in Düsseldorf. Here is a small selection of his woodcuts from the book (click on each image to see enlarged version): Continue reading
In October 1866 Lewis Carroll told his publisher Macmillan that his friends in Oxford “seem to think that the book [Alice’s adventures in Wonderland] is untranslatable”. History has proved his friends very wrong, as a new three volume acquisition by the Library, Alice in a world of wonderlands : translations of Lewis Carroll’s masterpiece, edited by Jon A. Lindseth (S950.b.201.3527-3529), makes clear.